Margot, I am holding out for the Visual Quick Pro manual since the
one for Final Cut seemed to be pretty helpful. The Avid one was
supposed to come out by the end of 2002, then got pushed to April
2003, and now I see on Amazon, the release won't be until June.
Crap. My main issue is that my background is all in Media 100 and
Avid doesn't use the same terminology at all, so when I look up in
the manual or online guide something like "split clip," it doesn't
exist and I simply don't have the same sense of logic as whoever
created Avid to figure out its terminology. That said, I have
actually finished one simple piece for my office on the Avid, so I'm
hardly giving up on it yet. If anyone else here has any other
recommendations for good Avid XPress manuals, that would be welcome.
The online Avid User Forum is OK, but the interface is way too
unwieldy for the amount of questions generated there that good
responses are few and far between.

Erica - Buy my book "Editing Digital Video" - if only for the translations from Media 100 to Final Cut terminology. Whole section. Should help - if it doesn't let me know why. The Visual guide is nothing more than a mediocre rewrite of the Apple manual with slightly better arrangment.

Steve- buy my book and the little digital video book by michael
rubin. That should help you understand what to think about before you go spend thousands in US or Canadian dollars.

Robert, your book has been on my Amazon wishlist for months. My
birthday is Tuesday. Hint hint. (But does it give translations from
Media 100 to Avid? I'm not using Final Cut.) And, of course, I know
I can always ask questions in the Community. Just didn't want to
come across as the dumb dumb Avid newbie that I am. A pride thing, I
guess. :-)

Hi ! We are an independant group who are making a documentary about
Eva Peron. We almost finished the 48 minutes version and now we are
contacting distributors and networks to sell it around the world.
Many of them just watched the trailer (posting on our web site) and
are asking for us to send them the full version to analyse it and
then send a proposal. My question is regarding of international
rights: We have regustered the documentary here in Argentina, but we
don´t know exactly how it works for the rest of the world, we should
register in every country ? Do we have to get any papel for export
the video ? We are not a company yet, so we have no idea how to
manage the commercial issues...
Thank you very much ! Maria

No need to register elsewhere, Maria. You license your film to
broadcasters on a territory by territory basis. Or you find a
distributor or sales agent who will contact the broadcasters.

Since you are intending to enter into contracts one way or the other,
I suggest that you form a company. Or, at the very least, you need a
lead producer who will sign any contracts on the group's behalf.
Sounds like a company might be better, if only to force your group to
come to terms with the business end of the biz.

and I wouldn't send anyone a tape -ever.
The purpose of a tape is to allow distributors
to say we saw that - it's no good. You
need to take the trailer to a market, show
em that only, and make a deal or not. No
deal no show. The alternative is to take
the completed doc to an A list festival
and win a prize. Then let them approach
you with a deal.

I am currently completing an historical documentary and am having a
hard time locating guidelines for what to include in the credits and
in what order. Any resources or suggestions would be greatly
appreciated. Thanks.

wish i could ask some vaguely technical question so i wouldn't seem
out of place, but all i really need help with (and i REALLY DO need
help with) is an idea of where to start. What do i mean? Well, I have
an idea that i'd like to turn into a documentary, but in school kid
terms, i'm still in pre-school. In documentary terms,i can't speak
and have no teeth.

Where do i / should i go to find out how i might turn an idea that
i'm passionate about into a film? I need to know everything really -
technicalities, equipment / funding / story telling etc etc. Is a
passion for something and a creative eye enough to go on? Is formal
training totally neccersary?

All i can say is that i'm totally commited to fulfilling this project
and would love to get on with it. I'm based in London and would love
somebody to point me in the right direction.

Thanks Doug - interesting.
I've been back through the postings, but is there a definitive line
on writing treatments? The obvious point (and one discussed
previously) is that its impossible to write something other than a
synopsis as your story (assuming its based on unfolding events)
hasn't happened yet.

Can anyone share any thoughts on structuring a synopsis? AIVF has
some thoughts, but not sure how relevant these are to Doc's, perhaps
more features based. I'm currently at concept stage, haven't begun
filming, but am looking to pitch to some production companies I've
targeted here in London.

Rob, a synopsis is basically just a summary of what the film is
about, told as compellingly as you can. Can be anywhere from one or
two paragraphs to a couple of pages. There's no real formula to it,
but you should try and find some treatments that are on file
somewhere.

If you're in NY, visit the AIVF office: www.aivf.org. Or try an
organization like NYFA or Film/Video Arts that has been a fiscal
sponsor for many projects and would have proposals on file. Even if
you're not in NY, there should be a local organization in your nearest
city. Doesn't even have to be a film proposal to get the idea.

and I wouldn't send anyone a tape -ever.
The purpose of a tape is to allow distributors
to say we saw that - it's no good. You
need to take the trailer to a market, show
em that only, and make a deal or not. No
deal no show. The alternative is to take
the completed doc to an A list festival
and win a prize. Then let them approach
you with a deal.

Sending tapes out is the kiss of DEATH!

I'm just curious if the other 'working pros' out there agree with
this Statement of Robert's - and Robert, if you could back this up
with some examples or experience.

As someone who has made a few films, but hasn't had much
luck with broadcast, I'm still mystified by this idea. Why would a
broadcaster agree to buy a film if they haven't seen more than a
trailer?

Riley, there's a big difference between a trailer and a sample and
sometimes the terms can get confused. A trailer is basically a minute
or two long. A sample can be anywhere from a few minutes to, well,
almost any length. I helped produce a doc called "Silverlake Life"
and the sample was almost a half-hour. And very effective, too.

If you have a contact or previous experience with a broadcaster,
sending a cassette out is perfectly fine. If you don't, then a market
like the IFP's is better. But there aren't many like them out there.

For confirmation please check a recent issue of the Independent Film
& Video Monthly - I think Dec/Jan with the Open City folks on the
cover. Jason and Joanna Kliot.
they wrote a piece about distribution that confirmed everything I've
learned and made the points i posted.

Dear Pros-
Is it necessary to secure "life story rights" for a documentary?
Is it ever kosher to pay a subject for appearing in a doc? The
subject of my film feels he needs some kind of compensation, beyond
publicity-- He also needs the money, which I totally understand.
Any advice would be appreciated. Thanks--

we all need money but paying for participation seems unethical to
most. What can and does happen is if the project is successful, the
participants share in the wealth, e.g., hoop dreams - the players
and parents received a share of the pie.

It's a very good idea to secure "life rights" because Small Wonders
becaming Playing with Strings with Meryl Streep and the life rights
holder benefited from Hollywood's interest after the doc was
successful.